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User:Moremajorthanmajor/TAMNAMS Extension: Difference between revisions

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!Reasoning or ideas
!Reasoning or ideas
|-
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|1L 1s <6/5, 7/6><ref name=":1">Partial detemperament of diminished temperament</ref>
|1L 1s <6/5, 7/6, 20/17*, 19/8*><ref name=":1">Partial detemperament of diminished temperament</ref>
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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|1L 2s <5/4, 9/7 (21/16), 13/10*>*
|1L 2s <5/4, 9/7 (21/16), 14/11~33/26*, 13/10*>*
|Second magitonic or mystic antrial
|Second magitonic or mystic antrial
| colspan="2" rowspan="2" |use compound
| colspan="2" rowspan="2" |use compound
| rowspan="2" |Linear combination of undivided major third and equal multiples of whole tone, by analogy with magic temperament having a major third generator  
| rowspan="2" |Linear combination of undivided major third and equal multiples of whole tone, by analogy with magic temperament having a major third generator  
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|2L 1s <5/4, 9/7 (21/16), 13/10*>*
|2L 1s <5/4, 9/7 (21/16), 14/11~33/26*, 13/10*>*
|Second magitonic or mystic trial
|Second magitonic or mystic trial
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|“Perfect” fifth is the characteristic interval of Phrygian mode
|“Perfect” fifth is the characteristic interval of Phrygian mode
Lydian pentachord is analogous to major scale
Lydian pentachord is analogous to major scale
Mason Green proposes angelic specifically for the instance of this mos within 12L 4s <5/1>
Mason Green proposes angelic specifically for the instance of this mos within 12L 4s <5/1>


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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|1L 4s <8/5, 14/9, 11/7*, 13/8*, 5/3*, 12/7*, 3/2>*
|1L 4s <8/5, 14/9 (32/21), 11/7~52/33*, 13/8*, 3/2>*
|indopedal
|indopedal, andorianic[5] minor
| rowspan="2" |use compound,
ador
| rowspan="2" |use compound,
 
ador-
| rowspan="2" |Linear combination of Hindu pentachord and undivided augmented fifth
Dorian hexachord of Mavila temperament
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|1L 4s <5/3, 12/7, 17/10*>*
|indopedal, andorianic[5] major
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|2L 3s <4/3>*
|Micro-pentic
| colspan="2" |use compound
| colspan="2" |use compound
|Linear combination of Hindu pentachord and undivided augmented fifth
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|-
|2L 3s <8/5, 14/9 (32/21), 11/7*, 13/8*>*
|anaeolianic, anphrygianic[5] minor
|åeol-, aphryg-
|åeol, aphryg
|Aeolian (natural major) or Phrygian hexachord Mavila temperament
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|-
|3L 2s <8/5, 14/9 (32/21), 11/7*, 13/8*>
|3L 2s <8/5, 14/9 (32/21), 11/7*, 13/8*>
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|Linear combination of Hindu pentachord and undivided augmented fifth
|Linear combination of Hindu pentachord and undivided augmented fifth
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|-
|4L 1s <5/3, 12/7>
|4L 1s <5/3, 12/7, 17/10*>
|dorianic[5]
|dorianic[5]
|dor-
|dor-
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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|3L 3s <5/3, 12/7><ref name=":1" />
|3L 3s <5/3, 12/7, 17/10*><ref name=":1" />
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|1L 5s <15/8, 27/14, 9/5, 7/4, 5/3*>*
|1L 5s <15/8, 27/14, 9/5, 7/4, 5/3*, 12/7*, 17/10*>*
|Neapolitan-antimachinoid
|Neapolitan-antimachinoid
| colspan="2" |use compound
| colspan="2" |use compound
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Dorian heptachord is analogous to major scale
Dorian heptachord is analogous to major scale
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|-
|5L 1s <9/5, 7/4, 5/3*>*
|5L 1s <9/5, 7/4, 5/3*, 12/7*, 17/10*>*
|Neapolitan-machinoid
|Neapolitan-machinoid
| colspan="2" |use compound
| colspan="2" |use compound
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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|6L 3s <12/5, 7/3><ref name=":0" />
|6L 3s <12/5, 7/3, 40/17*, 19/8*><ref name=":0" />
|mahuric
|mahuric
|mahu-
|mahu-
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|Regularisation of Persian/Arabic Mahur scale
|Regularisation of Persian/Arabic Mahur scale
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|-
|7L 2s <5/2, 18/7 (21/8), 13/5*>
|7L 2s <5/2, 18/7 (21/8), 28/11~33/13*, 13/5*>
|armodecadic
|armodecadic
|ardec-
|ardec-
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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|7L 5s <3/1, 14/5, 20/7, 11/4, 8/3, 16/5, 28/9, 13/4*>*
|7L 5s <3/1, 14/5, 20/7, 11/4, 8/3, 16/5, 28/9 (64/21), 13/4*>*
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|Canonical macrochromatic scale
|Canonical macrochromatic scale
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|8L 4s <16/5, 28/9 (64/21), 22/7*, 13/4*><ref name=":0" />
|8L 4s <16/5, 28/9 (64/21), 22/7*~104/33*, 13/4*><ref name=":0" />
|m-chromatic bastonic
|m-chromatic bastonic
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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|11L 5s <24/5, 14/3, 19/4*>
|11L 5s <24/5, 14/3, 80/17*, 19/4*>
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|12L 4s <5/1, 36/7 (21/4), 26/5*><ref name=":0" />
|12L 4s <5/1, 36/7 (21/4), 56/11~66/13*, 26/5*><ref name=":0" />
|quasiangelic
|quasiangelic
|qang-
|qang-
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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|12L 7s <28/5, 40/7, 11/2*, 6/1, 16/3, 32/5, 56/9, 44/7*, 13/2*><ref name=":0" />
|12L 7s <28/5, 40/7, 11/2*, 6/1, 16/3, 32/5, 56/9, 44/7~208/33*, 13/2*><ref name=":0" />
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|Canonical enneadecatonic macroenharmonic scale
|Canonical enneadecatonic macroenharmonic scale
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|13L 6s <32/5, 56/9 (128/21), 44/7*, 13/2*>
|13L 6s <32/5, 56/9 (128/21), 44/7~208/33*, 13/2*>
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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|16L 7s <48/5, 28/3, 19/2>
|16L 7s <48/5, 28/3, 160/17*, 19/2*>
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|17L 6s <10/1, 72/7 (21/2), 51/5*>
|17L 6s <10/1, 72/7 (21/2), 112/11~132/13*, 51/5*>
|archangelic
|archangelic
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!Reasoning or ideas
!Reasoning or ideas
|-
|-
|18L 8s <64/5, 112/9 (256/21), 88/7*, 13/1*><ref name=":0" />
|18L 8s <64/5, 112/9 (256/21), 88/7~416/33*, 13/1*><ref name=":0" />
|Petrushkatonic (minor)
|Petrushkatonic (minor)
| rowspan="2" |petrushka-
| rowspan="2" |petrushka-
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| rowspan="2" |In reference to the “27th chord” which appears in Stravinsky’s ''Petrushka''
| rowspan="2" |In reference to the “27th chord” which appears in Stravinsky’s ''Petrushka''
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|19L 7s <40/3, 96/7, 68/5*>
|19L 7s <40/3, 96/7, 52/5*, 68/5*>
|Petrushkatonic (major)
|Petrushkatonic (major)
|}
|}
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